1.
Adoration of the Trinity
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Adoration of the Trinity is an oil-on-panel painting by German Renaissance artist Albrecht Dürer, executed in 1511 and currently housed in the Kunsthistorisches Museum, Vienna, Austria. The house was a charity institution which could house up to twelve artisans who were unable to sustain themselves with their work, the altarpiece was commissioned in 1508, but was delivered three years later, when it was placed in the church. The altar had no movable panels, as in numerous previous similar installations, there is a carved depiction of the Last Judgement at the top of the frame, and it also displays the donors coats of arms. The crowded altarpiece depicts the Trinity, with God the Father holding a crucifix with a still-alive Jesus, above them, in a cloud of light surrounded by cherubims, is the Holy Spirit in the form of a dove. God the Father wears a crown and a wide gilt cloak, lined in green. The artist paints a host of male and female saints of Heaven, inspired by Augustine, who are led by John the Baptist and the Virgin Mary, respectively. Below, the human multitudes are divided between men and women, and laymen, led by the Holy Roman Emperor—a division similar to that already adopted by Dürer in the Feast of the Rosary. At left, near a cardinal who is perhaps interceding for him, is the aged Matthäus Landauer, wearing rich garments, a peasant, with one of his tools, represents the poor classes. On the right is a queen whose face is entirely hidden by a veil. The lower section is occupied by a landscape with the dawn above a lake, among hills, inspired by landscapes by Albrecht Altdorfer

2.
Alba Madonna
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The Alba Madonna is a painting by the Italian High Renaissance artist Raphael, depicting Mary, Jesus and John the Baptist, in a typical Italian countryside. John the Baptist is holding up a cross to Jesus, which the baby Jesus is grasping, all three figures are staring at the cross. The three figures are grouped to the left in the design, but the outstretched arm of the Madonna. This Madonna was commissioned by Paolo Giovio who planned to send it to the church of the Olivetani in Nocera dei Pagani, in the 18th century, the painting belonged to the Spanish House of Alba, whose name it bears. In 1836 it was acquired by Nicholas I of Russia, who made it one of the highlights of the Imperial Hermitage Museum in Saint Petersburg. A century later the Soviet Government clandestinely sold it to Andrew W. Mellon, during its time in the Hermitage, the painting would be transferred from a circular panel to a square canvas during the early nineteenth century. Through analysis of the painting, it was determined that the panel was severely splitting down the center. The canvas pattern is visible in the painting and the landscape on the far right was damaged in the transfer process, done with the utmost secrecy, heavy steel doors were installed and bars were put in the windows of the barren music room. In 1944 after it became clear that the war would soon be over the paintings were moved back to the National Gallery of Art. The far mountains are similarly hazed by distance to an azure, while the sky above varies in colour from Wedgewood blue, at its apex. This range of colours is repeated in the folds and shadows of the Madonna’s blue robes, a monumental, comforting figure, clothed in robes that look as if woven from a piece of fallen sky, she seems like a world unto herself. The faintest trace of archaism survives, in Raphaels painting technique, Soviet sale of Hermitage paintings Provenance of the painting smARThistory, Raphaels Alba Madonna

3.
Albani Torlonia Polyptych
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The Albani Torlonia Altarpiece is a painting by the Italian Renaissance painter Pietro Perugino, executed in 1491 and housed in the Torlonia Collection, Rome. It was commissioned by Cardinal Giuliano della Rovere, the future pope Julius II. The upper one as, in the center, a lunette with a Crucifixion, the main scene, that of the Nativity, is perhaps inspired by that painted by Perugino in the Sistine Chapel, which is now lost. The Child is housed in the Virgins dress, lying on a red cushion, Mary and Saint Joseph are adoring him, the scene is set inside a perspective portico, while the background includes a series of hills

4.
Aldobrandini Madonna
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The Aldobrandini Madonna is a painting from about 1509–1510 oil by the Italian renaissance artist Raphael. The picture is of the Virgin Mother, Christ child and infant John the Baptist, owned for centuries by the aristocratic Roman Aldobrandini family, it has been part of the collection of the National Gallery in London since 1865. It was sold to the National Gallery in 1865 after about five decades of ownership by the Lord and Lady Garvagh, and is still sometimes known as the Garvagh Madonna. Aldobrandini Madonna, one of small and mid-size Madonnas painted by Raphael in Rome, was likely something he worked on in his spare time of projects for the Pope or members of his court. During this time period, Raphael was painting the Stanza della Segnatura, exploratory sketches of this and other Madonnas from 1509 to 1511 are found in Raphaels pink sketch-book. It is one of several of Raphaels Madonna and Childs that uses a pyramidal composition, the painting takes place within a room, with a backdrop of the Roman landscape through the windows. The dark pillar between the windows sets off the face of the Madonna who is seated on a bench. The painting has also referred to as Madonna del Giglio for the flower that infant John gave to the infant Christ. In addition to the sweetness of the painting, it is regarded for its grace, beauty. Only the discreet ring halos imply anything other than a very human scene, one topic of conversation has been that the folds of material around the Virgins lap do not seem to indicate sufficient room for her legs. Raphael appears to have an affinity for the relationship between Jesus, the Christ child, and his similarly aged cousin, John. Likely that was due to the relationship that they would enjoy as they went through adulthood. Raphael cloths infant John here, and other paintings of the trio, in a little skin garment, like cloths of the desert as described in The Bible, camels hair and with a girdle of skin about his loins. In a sweet gesture, the Christ Child sits naturally in the lap of the Virgin, taking the carnation, sign of his future Passion, the Madonna paintings from his early Roman years evolved from his Umbrian and Florentine Madonnas, are more informal in dress and pose. At the same time, the composition is more complex, the colors are cooler, jewel-toned, an experiment with the dominant colors of the Stanza della Segnaturas School of Athens and bright, as if on porcelain. The painting contrasts significantly with Raphaels earlier Ansidei Madonna, influenced by the expression of divinity of the Umbrian School within his Florentine Period. Here Madonna is a human mother, with divinity only expressed through the halo. The Christ child and Saint John are both children, the painting is more reflective of natural circumstances

5.
Altarpiece of the Saints John
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The Altarpiece of the Saints John is a painting by Bernat Martorell conserved at the National Art Museum of Catalonia. The Altarpiece of the Saints John from Vinaixa was commissioned in 1432 from the Tarragona painter Ramon de Mur, the MNAC keeps most of the panels from this altarpiece. The main panel is kept at the Museu Diocesà de Tarragona, a compartment is kept at the Musée Rolin dAutun. The two Saints John feature in the scenes in the lanes of the altarpiece and two more on the predella, respectively. The topmost compartment depicts the Calvary, the predella shows signs of old damage, especially scratches, on figures who were considered negative, such as the executioner, Herod and Herodias and the Jews

6.
Ansidei Madonna
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The Ansidei Madonna is a 1505–1507 painting by the Italian High Renaissance artist Raphael, painted during his Florentine period. It shows the Blessed Virgin Mary sitting on a wooden throne, on her right John the Baptist stands, on her left Saint Nicholas is reading. At the time the painting was commissioned, there were paintings that made up the grouping for the altarpiece. Of the predellas, the only that remains is Saint John the Baptist Preaching, both the main painting, Ansidei Madonna, and the predella Saint John the Baptist Preaching, are located at the National Gallery in London. The Virgin sits formally on a throne, with an adult Saint John the Baptist on the left. Painted for effect rather than realism, the throne has no arms and the steps are steep, but beautifully set off the arches above. The Ansidei Madonna was greatly influenced by the expression of divinity of the Umbrian School within his Florentine Period. Above the Madonnas throne is inscribed Hail, Mother of Christ and this compares to the more natural poses and interaction found in Madonna, the Christ Child and infant John the Baptist in paintings of his Roman period. Per Ruskin of the National Gallery, the painting is considered one of the greatest paintings in history, first, the execution was near perfect and well-weathered the test of centuries of time. The gold within the painting looks real, but was painted by affect. Secondly, another test of a painting, the characters look serene. Third, the painting attracts attention to the spirit or soul of a character, rather than their appearance, and, last, you see joy, contentment or beauty in the face of the subject, not negative connotations, such as pain or vileness. The three balls at Bishop Nicholas feet may symbolize the trinity, or the three bags of gold he is said to have thrown into the window of a poor mans home for his daughters welfare. Raphael achieved excellence in Ansidei Madonna through execution of every minute detail, a master at the young age of twenty-three, Raphael brought new life to well-represented subjects, through careful, methodic performance. Care is represented by what one does – and what one does not do, or more clearly, consider the landscape behind our subjects, it is clean and serene, not overdone with unnecessary detail. When color is used, it is used decidedly and for effect, such as the jeweled robe, the Virgin Mary, Saint John and Bishop Nicholas are isolated from one another, without interchange, a style common in the Umbrian school, and particularly Perugino. Two paintings formed the predella for Raphaels altarpiece the Ansidei Madonna, the first, Saint John the Baptist Preaching, was placed beneath the image of Saint John in the main altarpiece, and is now owned by the National Gallery. The panels that depicted her betrothal, positioned below the Virgin and Child, There is some question about the date, or dates, of the painting

7.
L'Apparition
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The Apparition is a painting by French artist Gustave Moreau, painted between 1874 and 1876. It shows the character of Salome dancing in front of Herod Antipas with a vision of John the Baptists head. The 106 cm high and 72,2 cm wide held by the Paris Musee dOrsay elaborates an episode told in the Gospel of Matthew 14, 6-11 and Mark 6. On a feast on the occasion of Herod Antipas birthday, the princess Salome dances in front of the king and his guest, pleasing him so much he promises her anything she wished for. Incited by her mother Herodias, who was reproved by the imprisoned John the Baptist for her marriage to Herod. Regretful but compelled to keep his word in front of his peers, John the Baptist is beheaded, the head brought in a charger and given to Salome, who gives it to her mother. Moreau approached the theme in 19 paintings,6 watercolors. Part of a series of at least 8 closely resembling paintings and more than 40 sketch drawings, it is regarded a key work of Moreaus opus, symbolism, upon its first presentation 1876 in the The Salon, the painting caused a sensation. It has since made an impression on various artists, notably from the Decadent movement. At the back in the stands the executioner with his sword. Seated in ascending position on Salomes side are a lutanist, Herodias and they face the foreground events seemingly lit by Johns halo and its reflections on Salomes costume. Since no one, including Salome, reacts directly to the central to the composition, it is unclear if it is real. This deliberately confusing technique has been attributed to a consumption of opium and thereby caused hallucinations. Belgian art dealer Léon Gauchez bought The Appariton in 1876 upon its first presentation at the Salon where it was exhibited with other of Moreaus works. The following year Gauchez sent it to be exhibited at Londons Grosvenor Gallery where it not with the aquarelles in a separate room. Currently it is located in the Musée dOrsay, the dreadful head grows eerily, bleeding all the while, so that clots of dark red form at the ends of hair and beard. Whereas the bible mentions Salome as acting out Herodias will, Moreau draws her guided by her own lust, by accentuating her stillness, Moreau immobilizes her to be seen alternately as idol or sexual object or both. Some critics also ascribed her statuesque posture to fear, like French writer Joris-Karl Huysmans who muses on the painting in his influential decadent novel A rebours

8.
The Appearance of Christ Before the People
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The Apparition of Christ Before the People or The Apparition of the Messiah is an oil painting on canvas, measuring 540 cm ×750 cm, by the Russian painter Alexander Andreyevich Ivanov. The painting has been called his magnum opus and took 20 years to complete, the narrative of the painting is based on the third chapter of the Gospel of Matthew, also described in the first chapter of the Gospel according to John. Alexander Ivanov was born on 28 July 1806 to a family of artists and he was only eleven years old when he entered as a student in the Imperial Academy of Arts, where he studied under the guidance of his father, Andrei Ivanovich Ivanov, a professor of painting. Ivanov was awarded two medals and in 1824 received a gold medal. The painting alludes to several stories in the Bible, in the center of the painting John the Baptist, wearing an animal skin, is standing on the banks of the River Jordan. He points towards a figure in the distance, approaching the scene, to the left stands the young John the Apostle, behind him St. Peter, and further on Andrew the Apostle and Nathaniel. In the foreground we see people who watch the scene unfold but are undecided what to do, to the right there is a figure, that stands nearest to Jesus, who was depicted as the painters good friend, the writer Gogol. Before the wanderer with a staff seated not far from John, is a figure seated with a red headgear, the figure is a self-portrait, the artist has captured his own features on the canvas. Studies The Appearance of Christ Before the People

9.
Assumption of the Virgin (Correggio)
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The Assumption of the Virgin is a fresco by the Italian Late Renaissance artist Antonio da Correggio decorating the dome of the Cathedral of Parma, Italy. Correggio signed the contract for the painting on November 3,1522, below the feet of Jesus, the uncorrupt Virgin in red and blue robes is lofted upward by a vortex of singing or otherwise musical angels. Ringing the base of the dome, between the windows, stand the perplexed Apostles, as if standing around the empty tomb in which they have just placed her, in the group of the blessed can be seen, Adam and Eve, Judith with the head of Holofernes. At the centre of the dome is a foreshortened beardless Jesus descending to meet his mother, correggios Assumption would eventually serve as a catalyst and inspiration for the dramatically-illusionistic, di sotto in su ceiling paintings of the 17th-century Baroque period

10.
Bardi Altarpiece (Parmigianino)
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The Bardi Altarpiece, is an Italian Mannerist painting by the Italian painter Parmigianino, dating from c.1521 and housed in the church of Santa Maria at Bardi, Emilia-Romagna, Italy. In 1521 Parma was invaded by the troops under Prospero Colonna. The young Parmigianino, then seventeen, was sent by his family to Viadana to his cousins house, the latter was stolen in 1629, during the War of Mantuan Succession, and brought to Parma. The work depicts the marriage of Saint Catherine of Alexandria. The scheme is that of the Holy Conversation, in the middle is the Virgin sitting on a tall throne, above a historiated section of column, giving the Child to St. Catherine, on the left, who receives the symbolic marriage ring. At the sides are two saints, St. John the Evangelist and St. John the Baptist, who holds his typical attributed, catherines attributed are shown in the low foreground, including a broken wheel and the martyrdom palm

11.
Bartolini Salimbeni Chapel
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The Bartolini Salimbeni Chapel is a chapel in the church of Santa Trinita, Florence, central Italy. Its decoration by Lorenzo Monaco, dating to the 1420s, are one of the few surviving examples of International Gothic frescoes in Italy, the chapels has kept other original elements, such as its altarpiece, an Annunciation, also by Lorenzo Monaco, and the railings. Their residence, the Palazzo Bartolini Salimbeni, is located in the square as the church. Around 1390, the chapel had already decorated by Spinello Aretino. The frescoes were covered by white plaster in 1740, and were rediscovered in 1885-1887 by Augusto Burchi, in 1944, the retreating German forces blew up the nearby Ponte Santa Trinita, causing damage also to the frescoes. They were restored in 1961 and again in 2004, the frescoes, fragments of which are now lost, occupy the chapels walls, vault, arch and lunette. Lorenzo Monaco was initially a miniaturist, however, he worked on panels. Lorenzo Monacos frescoes were inspired by the apocryphal Gospel of James, dealing with Marys infancy, the cycle begins in the lunette on the left wall, portraying the Espulsion of Joachim from the Temple and the Annunciation to Joachim. Below are the Meeting of Joachim and Anne and Anne at the Golden Gate, set in a fanciful Jerusalem with high tower, belfries and other edifices painted in pink. The water of a stream where several youths are drinking is a symbol of Mary as the source of life, while the sea is a hint to her attribute as Stella Maris, the latter scene contains several numerology hints in the steps and in the arches of Solomons Temple. The scene on the wall, perhaps the sole executed by Lorenzo Monaco alone. The next scene is that of the Annunciation, whose predella has scenes of the Visitation, Nativity and Annunciation to the Shepherds, Adoration of the Magi, the next episodes depicted include some miracles connected to Mary, the Dormitio, the Assumption and the Miracle of the Snow. In the cross vault are portrayals of Prophets David, Isaiah, Malachi, la Cappella Bartolini Salimbeni a Santa Trinita

12.
Beaune Altarpiece
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The Beaune Altarpiece, often called The Last Judgement, is a large polyptych altarpiece by the Early Netherlandish artist Rogier van der Weyden. It was painted in oil on oak panels, with parts transferred to canvas. It consists of fifteen paintings on nine panels, six are painted on both sides and it retains some of its original frames. Six outer panels are hinged, when folded they show a view of saints. The inner panels contain scenes from the Last Judgement and are arranged across two registers, the large central panel that spans both registers shows Christ seated on a rainbow in judgement, with his feet resting on a golden globe. Below him the Archangel Michael holds scales as he weighs souls, the panel on Christs far right shows the gates of Heaven, that to his far left the entrance to Hell. The panels of the lower register form a landscape, with figures depicted moving from the central panel to their final destinations after receiving judgement. It is one of van der Weydens most ambitious works, equal to his Prado Deposition and lost Justice of Trajan and it remains in the hospice today, although not in its original position. It is in condition and was moved in the 20th century to shield it from sunlight. It has suffered from extensive paint loss, the wearing and darkening of its colours, in addition, a heavy layer of over-paint was applied during restoration. The two painted sides of the panels have been separated so both can be shown simultaneously, traditionally, the shutters would have been opened only on selected Sundays or church holidays. Nicolas Rolin was appointed Chancellor of Burgundy by Philip the Good in 1422 and his tenure with the duke made him a wealthy man, and he donated a large portion of his fortune for the foundation of the Hôtel-Dieu in Beaune. It is not known why he decided to build in Beaune rather than in his birthplace of Autun and he may have chosen Beaune because it lacked a hospital and an outbreak of the plague decimated the population between 1438 and 1440. The hospice was built after Rolin gained permission from Pope Eugene IV in 1441, in conjunction, Rolin established the religious order of Les sœurs hospitalières de Beaune. In the late 1450s, only a few years before he died, Rolins wife, Guigone de Salins, played a major role in the foundation, as probably did his nephew Jan Rolin. De Salins lived and served at the hospice until her own death in 1470, documents regarding the artworks commissioning survive and, unusually for a Netherlandish altarpiece, the artist, patron, place of installation and date of completion are all known. It was intended as the centrepiece for the chapel, and Rolin approached van der Weyden around 1443, the altarpiece was ready by 1451, the year the chapel was consecrated. Painted in van der Weydens Brussels workshop – most likely with the aid of apprentices – the completed panels were transported to the hospice

13.
The Beheading of St John the Baptist (Caravaggio)
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The Beheading of Saint John the Baptist is an oil painting by the Italian artist Caravaggio. According to Andrea Pomella in Caravaggio, An Artist through Images, the oil on canvas painting is 12 ft by 17 ft and prominent are the vivid red and warm yellow colours, common to the Baroque period with the use of chiaroscuro. The image depicts the execution of John the Baptist while nearby Salome stands with a platter to receive his head. The scene, popular with Italian artists in general and with Caravaggio himself, is not directly inspired by the Bible and it is the only work by Caravaggio to bear the artists signature, which he has placed in red blood spilling from the Baptists cut throat. There is considerable empty space in the image, but because the canvas is large the figures are approximately life-sized. Caravaggio drew the background for his work from his memories of a prison in the Knights of Maltas penal code, characteristically of his later paintings, the number of props and the detail in the props used is minimal. Completed in 1608 in Malta, the painting had been commissioned by the Knights of Malta as an altarpiece and it still hangs in St. Johns Co-Cathedral, for which it was commissioned and where Caravaggio himself was inducted and briefly served as a knight. Caravaggios service to the Order was brief and troubled, however, as he was soon a fugitive from justice, having escaped while imprisoned for an unrecorded crime. When Caravaggio was defrocked in absentia as a putrid and fetid limb by the Order about six months after his induction, Caravaggio did several pieces depicting the moments after the event depicted here. One of these is on display in Londons National Gallery, the other and it was during the restoration that Caravaggios signature in the blood became visible to modern viewers. The signature is a matter of some dispute

14.
Braque Triptych
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The Braque Triptych is a c.1452 oil-on-oak altarpiece by the Early Netherlandish painter Rogier van der Weyden. When open, its three half-length panels reveal, from left to right, John the Baptist, The Virgin Mary with Jesus and Saint John the Evangelist, when the wings are closed, the work shows a vanitas motif of a skull and cross. The Braque Triptych is the only surviving work by van der Weyden known to be painted for private rather than public display. The altarpiece was commissioned by either Jehan Braque of Tournai or, more likely, his wife Catherine de Brabant – possibly after Jehans sudden. The couple had only married for a brief period. Catherine was much younger than her husband, when married in 1450 or early 1451, she was 20. She evidently held a deep and lasting affection for him, when she died, almost 50 years after him, she had asked to be buried alongside him, despite remarrying years earlier. Inscription and free floating text play a role in the work. Each interior panel contains Latin inscriptions issuing from the mouths or floating above them. They are echoed by the words inscribed on the cross of the left exterior panel, the texts are all taken from the Gospel of John, except for that of the Virgins, which comes from the Gospel of Luke. The words of the Magdalen, in contrast, form a horizontal line, breaking the curved left to right continuity of the text of the left. Similarly The Magdalenes words differ from that of the panels, they are not uttered by her. Her text, from John 12,3, reads Mary therefore took a pound of ointment of right spikenard, of great price, van der Weyden had used the technique of floating inscriptions earlier, notably in the center panel of his c. 1445–50 Beaune Altarpiece, where words appear to float in the space or are seemingly sewn into the clothes of the figures. The left panel is a depiction of John the Baptist. Johns words float above him as a speech balloon which emits from his mouth. The words, taken from John 1,29, read Behold the Lamb of God, in the right hand panel Mary Magdalene is depicted in sumptuous and highly detailed dress in an image considered to be one of the finest of van der Weydens female portraits. At 68 cm wide, the panel is almost twice the breadth of the left

15.
Brera Madonna
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The Brera Madonna is a painting by the Italian Renaissance master Piero della Francesca, executed in 1472-1474. It is housed in the Pinacoteca di Brera of Milan, where it was deposited by Napoleon, the work, of a type known as a sacra conversazione, was commissioned by Federico III da Montefeltro, Duke of Urbino, to celebrate the birth of Federicos son, Guidobaldo. According to other sources, it would celebrate his conquest of several castles in the Maremma, some sources suggest that the work was commissioned to celebrate the birth of Federicos son, Guidobaldo, who was born in 1472. The work represents a sacred conversation, with the Virgin enthroned, on the right low corner, kneeling and wearing his armor, the patron of arts, duke and condottiero Federico da Montefeltro. At the center, hanging by a thread from the shell is an egg, emblem alike of Marys fecundity. The Child wears a necklace of deep red coral beads, a color which alludes to blood, a symbol of life and death, coral was also used for teething, and often worn by babies. The saints at the left of the Madonna are generally identified as John the Baptist, Bernardino of Siena and Jerome, on the right would be Francis, Peter Martyr and Andrew. In the last figure, the Italian historian Ricci has identified a portrait of Luca Pacioli, the presence of John the Baptist would be explained as he was the patron saint of Federicos wife, while St. Jerome was the protector of Humanists. Francis, finally, would be present as the painting was thought for the Franciscan church of San Donato degli Osservanti. The apse ends with a shell semi-dome from which an egg is hanging. The shell was a symbol of the new Venus, Mary, according to another hypothesis, the egg would be a pearl, and the shell would refer to the miracle of the virginal conception. The egg is considered a symbol of the Creation and, in particular, to Guidobaldos birth. According to Italian art historian Carlo Ludovico Ragghianti, the work has been cut down on both sides, as shown by the portions of entablatures barely visible in the upper corners

16.
The Burial of the Count of Orgaz
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The Burial of the Count of Orgaz is a painting by El Greco, a Greek painter, sculptor, and architect of the Spanish Renaissance. Widely considered among his finest works, it illustrates a popular legend of his time. An exceptionally large painting, it is clearly divided into two sections, heavenly above and terrestrial below, but it gives little impression of duality. The upper and lower sections are brought together compositionally, the theme of the painting is inspired from a legend of the beginning of the 14th century. In 1312, a certain Don Gonzalo Ruíz, native of Toledo, the Count of Orgaz was a pious man who, among other charitable acts, left a sum of money for the enlargement and adornment of the church of Santo Tomé. He was also a philanthropist and a right-thinking Knight, the painting was commissioned by Andrés Núñez, the parish priest of Santo Tomé, for the side-chapel of the Virgin of the church of Santo Tomé, and was executed by El Greco between 1586–1588. Núñez, who had initiated a project to refurbish the Counts burial chapel, is portrayed in the painting reading, already in 1588, people were flocking to Orgaz to see the painting. This immediate popular reception depended, however, on the portrayal of the notable men of Toledo of the time. It was the custom for the eminent and noble men of the town to assist the burial of the noble-born, and it was stipulated in the contract that the scene should be represented in this manner. El Greco would pay homage to the aristocracy of the spirit, the clergy, the jurists, the poets and the scholars, who honored him and his art with their esteem, by immortalizing them in the painting. The Burial of the Count of Orgaz has been admired not only for its art, indeed, this painting is sufficient to rank El Greco among the few great portrait painters. The upper and lower zones are brought together compositionally, the scene of the miracle is depicted in the lower part of the composition, in the terrestrial section. In the upper part, the one, the clouds have parted to receive this just man in Paradise. Christ clad in white and in glory, is the point of the triangle formed by the figures of the Madonna. These three central figures of heavenly glory are surrounded by apostles, martyrs, Biblical kings and the just. The young boy at the left is El Grecos son, Jorge Manuel, on a handkerchief in his pocket is inscribed the artists signature and the date 1578, the year of the boys birth. The artist himself can be recognised directly above the hand of one of the mourners immediately above the head of Saint Stephen. The men in contemporary 16th-century dress who attend the funeral are unmistakably prominent members of Toledan society, the painting has a chromatic harmony that is incredibly rich, expressive and radiant

17.
Canigiani Holy Family (Raphael)
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The Canigiani Holy Family or Canigiani Madonna is a painting by the Italian High Renaissance artist Raphael from 1508. It is part of the permanent collection of the Alte Pinakothek in Munich and it shows mainly Elisabeth with baby John the Baptist, Joseph and Mary with infant baby Jesus. These figures of the New Testament maintain eye contact, the oil painting was bought from the painter by the Canigiani family in Florence for their Home altar. Media related to Sacra Famiglia Canigiani at Wikimedia Commons Official website

18.
Christ in the House of His Parents
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Christ in the House of His Parents is a painting by John Everett Millais depicting the Holy Family in Saint Josephs carpentry workshop. The painting was controversial when first exhibited, prompting many negative reviews. It catapulted the previously obscure Pre-Raphaelite Brotherhood to notoriety and was a contributor to the debate about Realism in the arts. It is currently housed in the Tate Britain in London, the painting depicts the young Jesus assisting Joseph in his workshop. Joseph is making a door, which is laid upon his carpentry work-table, Jesus has cut his hand on an exposed nail, symbolizing the stigmata and foreshadowing Jesus crucifixion. As his grandmother, Anne, removes the nail with a pair of pincers, his mother, Mary, offers her cheek for a kiss. A young boy, who would later be known as John the Baptist, brings in water to wash the wound, an assistant of Josephs, who represents Jesus future Apostles and chroniclers observes these events. In the background of the various objects are used to further symbolize the theological significance of the subject. A ladder, referring to Jacobs Ladder, leans against the wall. Other carpentry implements refer to the Holy Trinity, Millais likely used Albrecht Dürers print Melancholia I as a source for this imagery, along with quattrocento works. The sheep in the sheepfold seen through the door represent the future Christian flock and it has been suggested that Millais was influenced by John Rogers Herberts painting Our Saviour Subject to His Parents at Nazareth. He may also have drawn on a painting depicting Jesus helping Joseph in his workshop, the painting was immensely controversial when first exhibited because of its realistic depiction of a carpentry workshop, especially the dirt and detritus on the floor. This was in dramatic contrast to the portrayal of Jesus, his family. Charles Dickens accused Millais of portraying Mary as an alcoholic who looks. so hideous in her ugliness that and she would stand out from the rest of the company as a Monster, in the vilest cabaret in France, or the lowest gin-shop in England. Critics also objected to the portrayal of Jesus, one complaining that it was painful to see the youthful Saviour depicted as a red-headed Jew boy. Dickens described him as a wry-necked, blubbering red-headed boy in a bed-gown, other critics suggested that the characters displayed signs of rickets and other disease associated with slum conditions. Because of the controversy, Queen Victoria asked for the painting to be taken to Buckingham Palace so that she could view it in private and this was entitled A Converted British Family Sheltering a Christian Missionary from the Persecution of the Druids. The effect of the comments was to make the Pre-Raphaelite movement famous

19.
Coronation of the Virgin (Filippo Lippi)
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The Coronation of the Virgin is a painting of the Coronation of the Virgin by the Italian Renaissance master Filippo Lippi, in the Uffizi, Florence. Francesco Maringhi, procuratore of the church of SantAmbrogio, left money after his death in 1441 for a new painting at the altar of the church. Bills of the payments for the work until 1447 have been preserved, for the Coronation of the Virgin, however, Lippi had to call in a total of six external painters, who were responsible also for the gilded frame, now lost. Originally the work had a predella, also lost, with the exception of a panel with a Miracle of St. Ambrose. The work was admired and was copied by numerous painters. It remained in SantAmbrogio until 1810, when it was stolen, later it was sold to the Galleria dellAccademia, from which it was transferred to the Galleria degli Uffizi in Florence. The work is composed of a panel, divided into three sectors by the arches. At the sides of the arch are two tondos, depicting the Angel of Annunciation and the Virgin. The main scene features a crowd of figures, angels and saints, portrayed in informal positions. As usual, the scene is set in Heaven, but Lippi decided to avoid the outdated gilded background, in the middle, in a commanding position, are Christ and the kneeling Madonna who is going to be crowned, within a majestic marble throne in perspective. The latter includes the shell-shaped niche, featured in paintings by Lippi. The elevated pavement of the side groups creates a triangle whose apex is the Virgins head. Amongst the figures in the middle can be recognized Mary Magdalene and St. Eustace with his sons and his wife. Kneeling at the side are the works commissioner, facing a cartouche with the write ISTE PERFECIT OPUS, standing on the sides are the two titular saints of the church, St. Ambrose and St. John the Baptist, whose austere representation reveal the influence of Masaccio. This painting is described at length in lines 344-389 of Robert Brownings poem Fra Lippo Lippi, published in 1855 in his collection Men and Women

20.
Diptych by Giovanni da Rimini
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Giovanni, pictor, later maestro, is known from legal documents to have lived in Rimini between 1292 and 1336. Giovannis panel paintings include what is probably half of a diptych, The Virgin and Child with Five Saints. Also attributed to Giovanni are wall paintings in the Campanile Chapel of SantAgostino, Rimini, at Alnwick Castle thereafter, the painting passed by descent to the 12th Duke of Northumberland, before being sold at Sothebys in 2014 for £5.7 million, including buyers premium. The jewel-like painting, showing the influence of Byzantine art and of Giotto, of the four scenes, the top two are of a double height, the bottom two separated by the edge of the throne in place of a decorative band. John the Baptists scroll reads ECCE / AGN / DEI / ECCE / QI TO / LIT Behold the Lambe of God, the right wing of the diptych formed part of the Sciarra Collection until 1897 and is now in the Galleria Nazionale dArte Antica, Palazzo Barberini, Rome. Giuliano da Rimini Pietro da Rimini Neri da Rimini Scenes from the Life of the Virgin and other Saints Scenes from the Life of Christ

21.
Disputation of the Holy Sacrament
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The Disputation of the Sacrament, or Disputa, is a painting by the Italian Renaissance artist Raphael. At the time, this room was known as the Stanza della Segnatura, in the painting, Raphael has created a scene spanning both heaven and earth. Above, Christ is surrounded by a halo, with the Blessed Virgin Mary, John the Baptist at his right, other various biblical figures such as Adam, Jacob and Moses are to the sides. God the Father sits above Jesus, depicted reigning over the light of heaven. On opposite sides of the Holy Spirit are the four gospels, below, on the altar sits the monstrance. The altar is flanked by theologians who are depicted debating Transubstantiation, pope Sixtus IV is the gold dressed pope in the bottom of the painting. Directly behind Sixtus is Dante, wearing red and sporting a laurel wreath, the bald figure reading a book and leaning over a railing in the left hand corner is Raphaels mentor and Renaissance architect Bramante

22.
Doni Tondo
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The Doni Tondo or Doni Madonna, sometimes called The Holy Family, is the only finished panel painting by the mature Michelangelo to survive. The painting is in the form of a tondo, or round frame, the Doni Tondo features the Christian Holy family along with John the Baptist in the foreground and contains five ambiguous nude male figures in the background. The inclusion of these figures has been interpreted in a variety of ways. The Virgin Mary is the most prominent figure in the composition, Mary sits directly on the ground without a cushion between herself and the ground, to better communicate the theme of her relationship to the earth. The grass directly below the figure is green, which contrasts to the grassless ground surrounding her, although the green is now darker. Saint Joseph has a position in the image compared to Mary, perhaps as the head of the family. Mary is located between his legs, as if he is protecting her, there is some debate as to whether Mary is receiving the Christ child from Joseph or vice versa. Saint John the Baptist, the saint of Florence, is very commonly included in Florentine works depicting the Madonna. He is in the middle-ground of the painting, between the Holy Family and the background, the elements around the family include plants and perhaps water. The painting is still in its frame, one that Michelangelo might have influenced or helped design. The frame is ornately carved and rather unusual for the five heads it contains which protrude three-dimensionally into space, similar to the nudes of the background, the meanings of these heads has been subject to speculation. The frame also contains carvings of crescent moons, stars, vegetation and these symbols are, perhaps, references to the Doni and Strozzi families, taken from each one’s coat of arms. As depicted on the frame, “the moons are bound together with ribbons that interlock with the lions, there is a horizontal band separating the foreground and background, whose function is to separate the Holy Family from the background figures and St. John the Baptist. The background figures are five nudes, whose meaning and function are subject to much speculation, the Holy Family is much larger in size than the nudes in the background, and there appears to be water in between the land where the Holy Family and the nudes are situated. The Holy Family all gaze at Christ, but none of the nudes look directly at him, the far background contains a landscape. The juxtaposition of bright colors foreshadows the same use of color in Michelangelo’s later Sistine ceiling frescoes, the folds of the drapery are sharply modeled, and the skin of the figures is so smooth, it looks as if the medium is marble. The surface treatment of the massive figures resembles a more than a painting. The nude figures in the background have softer modeling and look to be precursors to the ignudi, Michelangelo’s technique includes shading from the most intense colors first to the lighter shades on top, using the darker colors as shadows, a technique called cangiante

23.
Donne Triptych
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The Donne Triptych is a hinged-triptych altarpiece by the Early Netherlandish painter Hans Memling. It consists of five individual panel paintings, an inner panel. When Donne commissioned the work is unknown, an earlier date of sometime in the late 1470s is possible, at the time he completed the similar St John Altarpiece, or it may have been painted as a precursor to that altarpiece. Early Netherlandish Triptychs, A Study in Patronage, los Angeles, University of California Press,1969 Bruce, Donald. Aug 94, Vol.265 Issue 1543, p72

24.
Fano Altarpiece
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The Fano Altarpiece is a painting by the Italian Renaissance artist Pietro Perugino, executed in 1497, and housed in the church of Santa Maria Nuova, Fano, central Italy. It also includes a lunette with a Pietà and several predella panels, Perugino had already painted an Annunciation in 1488-1490. Several scholars have supposed that a young Raphael collaborated on the predella, Mary holds the Child in the same fashion of the Decemviri Altarpiece of 1495-1496. At the sides are the saints John the Baptist, Louis of Toulouse, less usual are the differentiated proportions of the saints and of the Madonna herself. The lunette depicts Jesus raised from his sepulchre by Joseph of Arimathea and Nicodemus, with Mary, the predella includes the scenes of the Nativity of Mary, the Presentation of Jesus at the Temple, the Marriage of the Virgin, the Annunciation and the Assumption. In these secondary paintings Perugino used some of his themes, including the portico

25.
The Fountain of Life (painting)
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It closely resembles passages in his 1432 Ghent Altarpiece, and is today viewed as a copy of a lost original. Although there is consensus among specialists that it is by a hand, others attribute a youthful Jan, his brother Hubert, or much later. The painting is structured into three levels, the top terrace shows a Deësis of God the Father, the Virgin Mary and St. John the Evangelist. These two groups represent true believers and non true believers in Christ as the messiah respectively, the water that flows from the top to the lower terrace is intended as a symbol of the Grace that illuminates the Triumphant Church and blinds the Synagogue. The painting was in Spain by the fifteenth-century where it became influential and was widely copied. It is today in the collection of the Museo del Prado, the painting is organised into three horizontal levels or planes, each showing a terrace on which the figures are positioned. The top level shows a Deësis scene, with God the Father in the center, flanked by the Virgin Mary and this passage closely resembles a similar scene in the Ghent Altarpiece. All three figures are seated in front of hanging oriental style carpets, God holds a staff in his right hand, and holds up his left up in the act of blessing. He is enthroned within a tall, elaborate Gothic architectural setting and his throne contains symbols of the Evangelists, while the baldachin around and above him is decorated with illusionistic painted reliefs of Old Testament prophets intended to look like sculptures. The lamb sits on a pedestal before God, on a structure through which the water of grace, symbolising the rite of baptism, Mary is seated and reading a red book, probably a book of hours. She wears a gown, the folds and cloth of which are closely detailed. She has blond hair which is unbranded and falls over her shoulders, in contrast to her depiction in the Ghent Altarpiece, here her dress is plain, lacks any embroidery or gilded lining, while her book is not girdled. John is dressed in a robe, also has blond hair. The middle level shows two groups of angels dressed in white robes and sitting on grass. Choirs of singing angels are positioned in towers on either side of them and this section is again similar to a panel in the Ghent Altarpiece. The instruments include a harp, a type of viol and a lute, the lower section represents the triumph of the Church over the Jewish Synagogue, through the depiction of the Christians as collect as almost serene, and the Jews as chaotic, blinded and resistant. The fountain of life is positioned in the center, with a group of Christians to its left, including a Pope, members of his service, to the right is a grouping of despairing Jews who seem to be fleeing from the scene. The figure on the far left of group is a high priest who has been blindfolded

26.
Ghent Altarpiece
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The panels are organised in two registers, each with two sets of wings, all of which are foldable and contain inner and outer panel paintings. The upper register of the panels contains form the central Deësis of Christ the King, Virgin Mary. They are immediarly flanked, in the panels by music playing angels, and, on the far outermost panels. The central panel of the register shows a gathering of saints, sinners, clergy. There are several groupings of figures, overseen by the dove of the Holy Spirit, Art historians generally agree that the overall structure was designed by Hubert in the early to mid 1420s, and that the panels were painted by his younger brother Jan between 1430 and 1432. The altarpiece was commissioned by the merchant and Ghent mayor Jodocus Vijd, the altarpieces installation was officially celebrated on 6 May 1432. It was much later moved for security reasons to the principal cathedral chapel, a now lost inscription on the frame stated that Hubert van Eyck maior quo nemo repertus started the altarpiece, but that Jan van Eyck—calling himself arte secundus —completed it in 1432. The panels were threatened during outbreaks of iconoclasm, and have been damaged by fire, at times, some were sold and others were looted during war. A number of panels were taken by the German occupying forces during World War I, in 1934 two panels, The Just Judges and Saint John the Baptist, were stolen. The Saint John the Baptist panel was returned soon after, in 1945, the altarpiece was returned from Germany after spending much of World War II hidden in a salt mine, which greatly damaged the paint and varnish. The Belgian art restorer Jef Van der Veken produced a copy of the The Just Judges, the panels are organised in two registers, each with two sets of wings, all of which are foldable and contain inner and outer panel paintings. The upper register of the panels contains form the central Deësis of Christ the King, Virgin Mary. They are immediarly flanked, in the panels by music playing angels, and, on the far outermost panels. The central panel of the register shows a gathering of saints, sinners, clergy. There are several groupings of figures, overseen by the dove of the Holy Spirit, Art historians generally agree that the overall structure was designed by Hubert in the early to mid 1420s, and that the panels were painted by his younger brother Jan between 1430 and 1432. The altarpiece was commissioned by the merchant and Ghent mayor Jodocus Vijd, the altarpieces installation was officially celebrated on 6 May 1432. It was much later moved for security reasons to the principal cathedral chapel, a now lost inscription on the frame stated that Hubert van Eyck maior quo nemo repertus started the altarpiece, but that Jan van Eyck—calling himself arte secundus —completed it in 1432. Attribution to the van Eyck brothers has been established through the amount of surviving documentary evidence attached to the commission

27.
The Holy Family of Francis I (Raphael)
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The Holy Family is a 1518 painting of the Holy Family, Saint Elisabeth, an infant John the Baptist and two angels. It is signed by Raphael, but most of the work was delegated to his workshop assistants and it was commissioned by Pope Leo X as a gift to Claude, wife of Francis I of France, hence its name

28.
The Holy Family with Saint John the Baptist
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Painted roughly 1550-1560, it depicts Jesus, Mary, Joseph, and John in a powerful, Mannerist style. This depiction of the Holy Family plus St. John has many Mannerist traits, vibrant colors, exaggerated monumentality, formal complexity, the figures are all massive and muscular, then crammed together for a composition which is highly expressive, if somewhat uncomfortable. Nosadellas Mannerist disregard for the sweetness and naturalism of earlier painters is evident in the figures of Mary. In a departure from the handling of this scene, Mary turns her back on the viewer rather than presenting the infant. This posture displays the torturous knot and bright colors on her dress, in comparison, Joseph and John have very contemplative, introverted postures considering their muscularity. For years, the attribution of this painting shifted between Nosadella and his master Pellegrino Tibaldi, as is the case many of their works. However, while Pellegrinos works are more fluid, Nosadella gave his figures a great deal of energy, thus, this work is now confidently attributed to the student, not the teacher. The IMA acquired The Holy Family with Saint John the Baptist in 1966 and it currently hangs in the Medieval Renaissance gallery and has the accession number 66.233

29.
The Holy Infants Embracing
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The Holy Infants Embracing is a lost painting attributed to Leonardo da Vinci. It represents the infant Christ embracing his cousin John the Baptist, the subject of two Infants kissing was an inspirational source of quite a few copies of pupils and followers of Leonardo da Vinci. An early sketch of the subject by da Vinci himself is held at Windsor in the Royal collection, the sheet shows various studies of Madonna and Baby playing with the cat, while at the very bottom we see two infants kissing and embracing each other. The sketch is quite different from the version presented at numerous compositions, the connection between those paintings is evident in two copies made by Marco dOggiono and copy made by Bernardino dei Conti. Madonna, very much like as the one depicted in Virgin of the Rocks is seen blessing two kissing children, representing Jesus and St John the Baptist, other copies show half-length figure of Madonna leaning other the table with figures of embracing children. The painting of Holy Family by Bernardino Luini held at Prado, most of the copies show only the group of two children in a quite different background. These include copies by Marco dOggiono, depicting children in a background of castle, grotto. Other copies by artist are also at Naples and Vienna. Joos van Cleve is responsible for introducing the composition among artists of Northern Europe, 73B832 search for iconclass code the Christ-child and John the Baptist in RKD

30.
Holy Trinity (Botticelli)
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The Holy Trinity or Pala delle Convertite is an altarpiece by the Italian Renaissance painter Sandro Botticelli, dating to c. It is housed in Courtauld Institute Galleries of London, the figure of Magdalene resembles the contemporary Magdalene Penitent by Donatello and that by Desiderio da Settignano in the church of Santa Trinita. In the lower part, in a scale, are the Archangel Raphael with Tobias. Raphael was the saint of the Arte dei Medici e degli Speziali

31.
Isenheim Altarpiece
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The Isenheim Altarpiece is an altarpiece sculpted and painted by, respectively, the Germans Niclaus of Haguenau and Matthias Grünewald in 1512–1516. It is on display at the Unterlinden Museum at Colmar, Alsace, the museum celebrated the 500th anniversary of the work in 2012. It is Grünewalds largest work, and is regarded as his masterpiece and it was painted for the Monastery of St. Anthony in Isenheim near Colmar, which specialized in hospital work. The Antonine monks of the monastery were noted for their care of plague sufferers as well as their treatment of skin diseases, the image of the crucified Christ is pitted with plague-type sores, showing patients that Jesus understood and shared their afflictions. The two saints protect and heal the sick, Saint Anthony as the saint of the victims of Saint Anthonys fire and Saint Sebastian. Mary, the mother of Jesus, is shown at Christs right, collapsing in anguish in the arms of John, the disciple of Christ. At Christs left, John the Baptist is accompanied by a lamb, the presence of John the Baptist is anachronistic. Beheaded by order of Herod in 29 AD, he could not possibly have witnessed the death of Christ and this last figure announces the New Testament by crying out in Latin, illum oportet crescere me autem minui, He must increase, but I must decrease. The inclusion of John the Baptist in this scene is symbolic, outer wings opened, The outer wings of the Isenheim Altarpiece were opened for important festivals of the liturgical year, particularly those in honour of the Virgin Mary. Thus are revealed four scenes, the wing represents the Annunciation during which the archangel Gabriel comes to announce to Mary that she will give birth to Jesus. The Virgin Mary is depicted in a chapel to indicate the character of the event. The bed, the bucket and the chamber pot underscore the human nature of Christ, lastly, the right wing shows the Resurrection, in which Christ emerges from the tomb and ascends into Heaven bathed in light transfiguring the countenance of the Crucified into the face of God. The Resurrection and the Ascension are therefore encapsulated in a single image, inner wings opened, - The sculptures of Saint Augustine and Guy Guers, Saint Anthony, Two Bearers of Offerings, Saint Jerome, Christ and the Twelve Apostles are by Niclaus of Haguenau. With its inner wings open, the altarpiece allowed pilgrims and the afflicted to venerate Saint Anthony, protector, Saint Anthony occupies the place of honour at the centre of the corpus and at his side a pig is depicted, the emblem of the Antonite order. On his left and right, two bearers of offerings illustrate these contributions in kind, an important source of income for the Antonites and this central section is framed by Saint Augustine and Saint Jerome, two of the four great fathers of the Latin Church. Guy Guyers, who had commissioned the Altarpiece, is depicted kneeling at the feet of Saint Augustine, - Visit of Saint Anthony to Saint Paul the Hermit. The two hermits meet in a landscape, intended to represent the Theban Desert. In this dreamlike scene, medicinal plants, painted in naturalistic fashion, - Saint Anthony Tormented by Demons

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John the Baptist (Caravaggio)
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John the Baptist was the subject of at least eight paintings by the Italian Baroque artist Michelangelo Merisi da Caravaggio. The story of John the Baptist is told in the Gospels, John was the cousin of Jesus, and his calling was to prepare the way for the coming of the Messiah. He lived in the wilderness of Judea between Jerusalem and the Dead Sea, his raiment of camels hair, and a girdle about his loins. He baptised Jesus in the Jordan, and was killed by Herod Antipas when he called upon the king to reform his evil ways. John was frequently shown in Christian art, identifiable by his bowl, reed cross, camels skin, John alone in the desert was less popular, but not unknown. For the young Caravaggio, John was invariably a boy or youth alone in the wilderness. This image was based on the statement in the Gospel of Luke that the child grew and was strengthened in spirit and these works allowed a religious treatment of the partly clothed youths he liked to paint at this period. The ascription of this painting to Caravaggio is disputed - the alternative candidate is Bartolomeo Cavarozzi, according to Mancini the prior afterwards took them with him to his homeland, unfortunately, one version of Mancinis manuscript says the priors homeland was Seville, while another says Sicily. There was a Spanish prior of the hospital in 1593, Gash cites scholar A. E. is much more characteristic of Caravaggio. If this and other paintings by Caravaggio were indeed in Seville at a date they may have influenced Velázquez in his early works. However, the arguments in favour of Cavarozzi are strong, Peter Robb, taking the painting to be by Caravaggio, dates it to about 1598, when the artist was a member of the household of his first patron, Cardinal Francesco Maria Del Monte. Robb points out that the Baptist is evidently the same boy who modelled for Isaac in the Sacrifice of Isaac, unfortunately this Sacrifice of Isaac is also disputed, and so the problem of authorship is not solved. John is shown against a background of green grape vines and thorny vine stems, seated on a red cloak, holding a reed cross. The red cloak would become a staple of Caravaggios works, one with many precedents in previous art, John the Baptist carries over many of the concerns which animated Caravaggios other work from this period. The grape leaves stand for the grapes from which the wine of the Last Supper was pressed, while the call to mind the Crown of Thorns. Nevertheless, it was not totally without precedent, the model for Amor Vincit was a boy named Cecco, Caravaggios servant and possibly his pupil as well. He has been identified with an artist active in Rome about 1610-1625. The most striking feature of Amor was the young models evident glee in posing for the painting, the same sense of the real-life model overwhelming the supposed subject was transferred to Matteis John the Baptist

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Marriage of St. Catherine (Filippino Lippi)
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Mystical Marriage of St. Catherine is a painting by the Italian Renaissance painter Filippino Lippi, dated 1503. It is housed in the Isolani Chapel of the Basilica di San Domenico, the painting pivots around the scene of the mystical marriage of St. Catherine of Alexandria, while around her a sacra conversazione is held. Their participants are, on the right, St. Paul and St. Sebastian and, on the left, St. Peter, also the architecture in the background is rather classical

The view with the wings folded of six panels with the donors kneeling in the far wings

Courtyard of the Hôtel-Dieu

Van der Weyden disregarded division between panels; on the top left the apostle's robes flow onto the adjoining panel, on the bottom left a man is seemingly cut in two, and on the right the tip of angel's trumpet is visible.

John the Baptist (sometimes called John in the Wilderness) was the subject of at least eight paintings by the Italian …

Image: Caravaggio Baptist Toledo

Sacrifice of Isaac, Caravaggio, c. 1598 (detail showing the head of Isaac). Private collection, Princeton, New Jersey - the resemblance between the two heads suggests that the disputed John the Baptist in Toledo is by the same artist.